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Episode 87 · 7 months ago

THE MATRIX RESURRECTIONS (2021) with Editor Jett Sally

ABOUT THIS EPISODE

Parth and Trent discuss The Matrix Resurrections with its editor Joseph Jett Sally. They also discuss how many people could fit on Parth's bed.

Edited by Parth Marathe

... time, girl wizard haring. So you know, you think that's where you're breathing, proving I don't have friends through we're back. Is this podcast still here more? Yeah, I mean, there's been rumors circulating about our show being canceled. Try and elaborate on that. So Twas April. First April, the the first day of April. Also, knows, April Fools Day, and parth felt like a little prank star on the instagram story. And what happened next? Is April. First, I posted two things on our story. It seems like very genuine like that is more or less what we're actually going to post from the show ends. So like it's confusing. Yeah, I mean that I posted a thing. Wait, let me, let me, let me pull it up and read it. One of parts famous pauses. How about you just shut up for a second, though. Oh yeah, that's my bud. So I've successfully pulled it up. So okay. I wrote we regret on top of a black screen because I thought that that would be nice and it's a very, very dramatic yeah, we regret to inform everybody that craft services is coming to a close once we release our episode this week. Thank you to everyone that's listened and follow the show for the last almost two years, almost in parentheses, and I followed it up with a photo of me and Trent at the beach saying shaking his hands. So, so, so, yes, it's been so, so, so fun to run the show. Hopefully you'll follow us on to the next adventure. And a lot of people have been very like stressed and anxious and reach. My parents called me, my sister called me. I had a professor in class safe. So the pods over and I said no, it was a prank and he said that's a really bad advertising scheme. I said we didn't consider that. I just thought that people would know that. It was what the day was. Yeah, I mean everybody was doing stuff on I be first. You know, team deacons isn't seem deacons off the air right now. It's defunct as of Halloween last year. So really so we've outlasted them. We have legitimately at last of them and pretty soon I think we will have produced more content than them. Damn, I fucking hate to be renowned cinematographer, Roger Deacons, like being sit in Amatographers, Roger Deacons, two time Oscar winner, Roger Deacons, like right now, I'd be pretty embarrassed. He's in me fucking hot. See he shaken in his boots. Urge Deacons, be here in this contact us, be email. We'd love to talk part at parth DOTCOM. Yeah, that's what it is. What have you been eating? Well, last night Trent through a little basement show at his house and Sophie and I went and part came and had two beers...

...and after part drinks two beers he turns into Perth, which is his alter ego. Okay, my parents listen to the show. Part, I mean Trent. We went to the spaceman show and then today we woke up and we had we so if you had tried making poached eggs and she did it successfully, they're pretty good. Poe had them on toast and then for a little snack I had some leftover penny vodka. Except it wasn't pin a, it was another pasta that I can't remember the name of. Nice. I just came from the Mason gross accepted students day thing where me, in front of the show. Jackson Clark gave some tours and answered some questions and it was funny because we were so hungover and everyone, everyone, everyone there, was treating us like we were really sophisticated students who had our act together. Trent, when we had our accepted students day, do you think the students there were hung over? On the panel of students there for the QUA, over half of them were super hungover. That's pretty awesome and yeah, it was. But I had provided lunch from there. That's nice. It was. It was a sandwich. Surprisingly good for a free catered meal. Not Bad, not bad, Yep, but my stomach is an empty cave now, craving, craving. What's next. But for now the show Matrix Week parth. Yeah, should we cue the intro? Welcome back to craft services, where we talk about the movies each week. We talked about a film and hopefully have a rememember of that help to talk with us about their experience working on the picture. This week, Trent, who do we have with Joseph Chit Sally, the Editor of Matrix was directions, the fourth installment in the Matrix Franchise by the witch house. Kis the directors. It's pretty awesome. He was nice enough to talk to us a day after the movie was released in theaters. We up to him bus. How did it get pushed so late, because now the matrix was directions feels kind of far away. Batman happened, the Oscars happened, we were in the middle of Star Wars. Otherwise I would have just released this one. But we're in the middle of Star Wars. Then Scott Pilgrim had to get released. Then by chance, Batman ended up happening. Then last night sour happened. Yeah, so a lot of things, but here we are. Postponed this, but we are here now and despite it all, I still haven't seen the matrix was directions all the way through, but I'm excited to view it for the discussion. Yeah, that we maybe we'll watch more of the Matrix move. Is...

...it on Hreo Max? It sure is. Max is all of the major drones. One a stream Max. They are, but I also own them, so we can watch them to get there, you know, on Blu Ray, on your big old TV. Hmmm, parth can we cuddle up in megabed Partho's two beds in his rooms push together and it creates one quote mega bed and it's a monstrosity. How many people have slept in there at once, at one, five or six at once that have actually slept over? I think the most is for but people that have been on the bed comfortably, seven, seven or eight. Yeah, comfortably come maybe lease are not, maybe not that comfortably for out of the show friend all swep like I feel Alexis is behind me right now. So we're going to have to end at what's her prediction? With? What's her partition with? How many people can comfortably fit? and Ye, a bit. How many people could comfortably fit in megabed relaxing? How comfortable? Try Semi Sammi, semi comfortable, not falling asleep, but lounging, not falling asleep but lounging. Six, I think seven. I think seven or eight. I've really seven's been done. Seven. Maybe we were a little bit uncomfortable. So if you get closer, get closer, the Mike has to pick you up. So it depends if we're watching something, because if we are, we all have to be facing the TV. But I think you could fit way more people if we were like Sardine, like one waere in the other. Yeah, I mean logistically, like putting you in like single file, like in a spooning format, would probably be most logistical, but you have to arrange and sort of like a cross. I think once we did have six people spooning in my bed. WHO's to say megabed? It breathes invention. anyways, the interview. Yeah, the interview. Let's do it. Was it a good one? This is a pretty awesome one. Just of Jet Sally has a lot of cool things to talk about. Talks about how he got involved with the Matrix as directions. He talks about working with George Lucas for like nine years. How He oh, he has an action figure. Figure, yeah, he's in Star Wars episode two. Yeah, very briefly, he was a very awesome guy to talk to and we're going to cut into that interview right now, right. No, you. The interview. Hello, everybody, and welcome to our interview with Jet Sally. He's an editor that's worked on such films as the Star Wars Prequel trilogy, Speed Racer and the amazing spiderman to he also edited our film for today, the Matrix resurrections. Thank you again for being with us today. Very welcome. So just to start off, what would you say your relationship with film was at a young age, you know, sort of personal and not. I didn't work on the original three, so I was one of a few people who are like...

...that. The Mari setting up and there before. But I just appreciate it how smart it was. I'm not taking itself too seriously and yet taking it so very seriously. So you've worked with the witch as KI's on speed racer, sense a and now the matrix was directions. Can you explain how you got introduced to them and how you got involved working on the franchise? Yeah, so I met them on speed racer. Roger Barnes, editor, I worked with several times and he was brought on to cut with Zack Steinberg. So I was at first assistant on speed. Toward the end of speed they were discussing producing a film for James Mutigue, who was their second unit director, and James was directing Ninjo Sassin so Lana and really gave me and Gian Ganziano the opportunity to cut Ninjo SASS and he was a visual effects editor on speed, and I said I was the first. They're very kind about stuff like that, giving people opportunities. So I cut Ninja for them and then I went back and worked with them on a pitch reel for a film that has yet to be made, but it's a really good and they just we just kept in chats with each other. So when sin say came around, I went to Chicago to do some test. They shot some test were it one thing, that's another. I cut the series and then that world into Matrix. When did you know you were going to be the editor of the film, because it's kind of like a very hotly anticipated movie for like seventeen years or something, so that must have been what was it like getting the job? Well, it's funny because it's like a lot of people, I never expected it to happen. I mean Warner Brothers has been after them for years and years to reboot it or, you know, just go back to the Matrix. And I was around them when they were, you know, getting calls from Warner Brothers. And then you may have read in the press, you know parents passed away, which of course is very sad, and Lana figured out a way to shouldn't bring her parents back to life, but she figured out a clever way to bring these characters who meant so much to her back to life. So Keith, my husband and I were in San Francisco visiting friends, Lan and Karen included, and after Brunch Lana said she had a surprise for us. So she read the first, probably third of the script to us in the shape within at that time, and that was a year before we ever wrote camera. It still wasn't a done deal, but it was something she was thinking about and I was shocked but own way...

...it was strange, smart and clever and I just wanted more. And you know, she wanted to see if I, you know, could be available for it, which of course I wanted to do. It's the Matrix. Yeah, and as it worked out, you know, things kind of work out. I was in a series with James Messiah and then if I gotten a long term show, I wouldn't have been able to do it. But then I was able to cut the first season of work in progress with lily and I literally I finished that and Matrix started a month or two after that. It was it was all perfect timing. And so what was like the Daytoday, like while while in editing room, and how long was the entire process until you were picture locked to say yeah, well, I'll start backwards. The entire process was probably a year and seven or eight months, I think. So I went to San Francisco for the table read and at the end of January of two thousand and twenty, so almost two years ago. Then production stayed in San Francisco because they started shooting there. I went straight to Lynn. We should we worked in Berlin. So I was on my own while they were shooting in San Francisco, which is always nice. Launa just, you know, want you to try stuff, just cut, you know, do what feels right for you. They finished shooting and the crew flew to Berlin. But then, you know, I think this was around March, covid the whole story of shutdown process. It started rippling across the globe and Warner Brothers we had to shut down. I was going to try to stay because I could have worked with LAUNA, but there are lots of legal issues. Warner brothers just shut literally shut everything down. So I think I got the second to last flight out of Germany Back Casus, which was strange because I think I was one of about ten people on this plane. That's that probably four or five people. So anyway, I relax at home, like everybody did, and went back to Germany at the end of May, so about a two months break. So then I got to work with Lana on the stuff that I already assemble and get ready for production to start again, and then on the Daytoday, I'm kind of left alone. There are situations where, you know, she wants to see what performances are like, what the lighting is like, because she's, you know, extremely interested and in natural lighting and how it would looks, how the frame looks.

There are times when you would come to the cutting them just sort of look at things and work on things most for the most part I'm kind of left alone. And then she spent a good amount of time with me work out a wrap wheel for our crew, because they're very brae. They're like works of art, Our wrap wheels, and it's a nice way to say thank you to the crew who, especially on a film like this, work extremely hard, not just production, but my crew were extremely hard and I had an entire German crew on this. I didn't take anybody from the states. Yeah, kind of getting into the movie a little bit. Were you said that you were pretty to a little bit of the script before the even was close to being into production. When you are actually working with it, was there a large transformation process or would you say that it was relatively what was in the script was is how it ended up being in the movie. You know, things always change and I haven't read the script and the long of course I read it as I go, but it's pretty close. We didn't cut out a lot of scenes. Some scenes were turned into montage, but the structures there and her David and Sasha Alexander, they worked a lot on the script and kept editing themselves. So the script was pretty tight. It was was long, but it was pretty tight. And explain how you edit sequences were characters are moving at different shutter speeds from one another? Yes, have you guys seen the film yet? Yes, yeah, yeah, I watch this morning. So so, you know, we're talking about Tiffany's workshop. That was, you know, interesting, to say the but it gave me full rain. I mean I knew that once the analysts, you know, triggers stage. I who to go back into a form of bullet time using that against me. No, there are lots of things happening. So the analysis was running at eight frames per second, at twenty four to give him that sort of stuttered look. But so he was insane. Neo, of course, and trinity were shot of the hundred and twenty and we try to keep them, you know, that slow. The backgrounds were tricky because if you played just one or the other, it had very specifically especially we're talking about the sparks this, you know. So we had to morph both eight frames per second with a hundred and twenty, and then the visual effects team had to do more work because you know, those, those really pretty elongated sparks, worked really well, but you wanted those discreet eight frames per second, like POPs right. And then, of course bullet time. Once...

...forgive me a foreth care to say, but when he fires the gun and use classic sort of bullet time and the rings around a bullet, that's obviously running a super slow speed. So when working on something like this, which is obviously very like visual effects, there's a large component of that. Is that difficult for you to have to coordinate that, or does it just it's all the same? For me it's a little bit of the same and be my frames, you know, on the timeline, look crazy because I've got how many video tracks because of all the elements that are running at different speeds. Plus, you know, in a sequence like that the analyst is, you know, one element, neo is another element, Trinity's another element. So they're all, you know, compt and piece together. But M vfx editor Tina is very good about you. You can break it down and hand it off to visual effects and they marry it. But you know, my attempts look pretty good. I'm all about telling the story. So as long as you know, you can see it, you understand it, pictures worth a thousand words. It's it is complicated and it's time consuming to get those things right. We were curious about the conversations you may have had with the director about incorporating clips from the original trilogy into this film. Yes, those are tricky because you know, of course we started with quite a few. The script had a nod to them sometimes, but we also use them in places where they weren't scripted. You know, we wanted to remind the fans and you know there's a lot of those are emotional cues, nostalgia. You know, when we meet the new morpheus in the restroom, that's a very funny sequencing, but it's fun to see morpheus there, it's fun to see him on the rooftop with neo when he jumps. Those are very iconic moments in the beginning. And then, you know, we needed to sort of educate new viewers by showing them pieces of the original. But then, you know, we're also aware of over the entire film not overdoing it because you don't want to get fuck, you know, kinds of flashbacks. So I think we pared it down carefully. You know, some of my favorite one of my favorite moments to is in the morpheus is shrine, when neo says I'm sorry, you know, when he meets them and they hug. It's I love that one too. It's really good use of that. And and also when you know, Neil's on the rooftop contemplating jumping, remembering trinity and...

...and we also used flashbacks within the current movie. You know, yeah, was anyway. It was a balance, but I think we got it. Are there any scenes in this movie that you you would say were like difficult to crack and and, conversely, were there any scenes that now, looking back on it, you're like, damn, I'm proud of that work that went into that and maybe they're the same or similar scenes, but if you could just speak on that? Yeah, yeah, I've talked about this one a lot, but treadmill of life, that montage sequence, all the game of talking that. I mean it was very long the way it was scripted, and there are lots of little vignette scenes actually. So my first cut was quite long. I want to say it was probably eight minutes or something, but then you know, very early on, you new right away it just couldn't play like that. But you kind of want to see it like that. So you it makes it easier to start pairing things down. So then we, you know, kind of turned it into two montages office that sort of brain stormy and then it beat with, you know, about Trinity, which is where we use the white rabbit song, and then we tried, you know, with just score and we decided to make it one continuous one Taj and we went back to white rabbit. Tweaked version. That the we use. That was tough. We went back, I mean literally we joked about it because that was our treadmill. We went back to it almost every day. Yeah, it was so easy to tweak it, you know, if it was too frontloaded with brainstorming and there wasn't enough of Trinity, but you didn't want too much of Trinity. So yeah, again it was a delicate balance to have the brain storm, Havn't feel trapped having yearning for Trinity and ended a place where it made sense that he sees her the next day or two or whatever at the coffee shop and they have that great conversation about what we program to believe in. And I've asked some of the other editors that we've interviewed this and it's like, after working with like the same material for like almost two years, do you find yourself like finding new beauty in the frames that you've seen like tenzero times, or at a certain point do you just become like too familiar and you're just like like you know and well, I know that's the life of an editor. No, I mean like especially in that I have to say every time it was like yes, it's better, I love that, and see, you know, they're that's the way it should be, because you want to keep moving towards that sweet...

...spy. You always want to keep moving towards the sweet spy. The you know, the danger is you know when you give up, when you just say that's it, that's as good as it's going to get, and I you know, I can't. We never felt that way because and I tried and never feel that way because in any product project you, you know, the editors there to serve the film. You want the audience to see the best version of what they can and you know, there are times when you're you know, you're hearing from, you know, the directors, the most important person to me, and the script. Then you're also hearing from, you know, produce, other producers, a preview audiences and and I have to say sometimes, you know there are really great suggestions from all of that, but you need to need to find that the right answers to those sort of suggestions. So sort of closing out, I guess, like our specifically Matrix a resurrection questions, I just want to ask what Lana Watch House Kis like to work with and what like. You know, I don't know what conversation I don't know what she liked, because she seems kind of awesome. She is awesome, but I have to say she's terrible, so that nobody else wants to work with their yeah, good plan. I'm getting. She's a dream. You know, she is the kind of director that I think any editor would want to work with. She pushes for anything new, just trying, trying anything, you know, never saying no, and that there's so much freedom in that. Seriously, that's like that's what you want from a director. You know, the script is always something that you you work from, but there's discovery and the performances that the actors gave you that the cinematographer getsue. There's just discovery and everything and you have to be open and she is open to everything. Anyway. I love her and, as you probably know, she's brilliant. He's a very, very smart filmmaker. So you mentioned speed racer earlier and that is an very interesting film from an editing perspective and it seems like it would either be a dream or a nightmare and we were wondering which one. When it was it was a dream and you know, I'm sure Roger and Zach would both say the same for and for me it was, you know, being the first assistant that film at that time, I think it was the most film I ever saw come through a cutting it and I've seen just as much since probably, but I mean, you know when he's being walked through the shop, there's so many things happening...

...in the backgrounds. We used to we had a second unit shooting simultaneously to the first unit. So our cutting room was just getting overwhelmed with footage. There was just so much and that sort of anime feel about it. I mean every image was eye candy, you know, it's just amazing. So it was really fun and I think you know, especially in Rogers case, he had so much fun with that, playing with multiple layers of images in the frame. And Yeah, you worked on the Matrix, but another franchise you've been attached with is star wars and we wanted to ask what that was like and also you actually appear in a star wars movie and have an action figure made of you. So like what was what was that like? Well, I loved it. I loved Working George. What can I say? I it wasn't if somebody told me that, you know, when I would have been working on a star wars trilogy or that I'd be working with rich how skis, I would says crazy and just a little backstro on star wars, it happened in a strange way because they let go of their Aviad as system on the first show about the maybe eight months in or something, so they needed to find someone else. I had worked with one of the girls that was in post on flobber with Robin Williams. So anyway, it was visiting friends in San Francisco and she said, yeah, why don't you come over and, you know, meet everybody. We're trying to replace our avid personal but I had only done a pilot on the Abbot and I didn't even really know how to use the add so I went up to meet them and they're all very nice, but I left their thinking there's no way, I'm not quale. So I was also I had also worked on a pilot felicity with JJ Abrams and, Oh yeah, and it was going to series. So at the same time I was getting calls to go do that, and so I called these guys on Star Wars. Inside you guys, I can't taking my name out of it because I know I'm not qualified, and they were like nothing, you can't. Everybody signed off on you. You have to do but my God they were a lighting for you, Jj Abrams and George Lucas. It was it was very strange. So of course I did star wars and what I did was I off I just for myself for two or three months. I stayed late and I read the avid manual cover to cover wow and work on it. So I knew it probably better than anybody...

...should and I didn't even really know how to be I mean just operating and I have it was cumbersome on that show. Anyway, that worked out. I got along with George tremendously when we did the second one. We do a lot of previous and we'll go out just shoot stuff on video and slug it into the film, which is how did that little bit as step jet jostle. When it came time to do the final George wanted me to do it. I'm very camera shy, I you know, but I now I'm glad I did it. At the time I was reluctant. And then the action figure. They needed a female. So at the time it was me and two others and they picked the female the twilet to do as an action figure at the time and George assured me said don't worry yet, I promise you at some point, and he lived up to his post. They made an action figure. That's awesome. And then I went, you know, I actually in between two and three. They wanted to keep me busy so I could come back. I did the recout with George on his director's version of TCH x thirty eight M. I spent the year working with him on that and that was also a dream job because it was just the two of us really, and then one of my best friends, Cheryl, came back to help at the end. Anyway, it was that was also great. So were you working on Skywalker ranch? Yes, and I was actually working in the main house, which nobody works in the main house, but we were in the main house in the basement, so George could just, you know, go from this office downstairs upstairs. So this may sound sillate, but, like, have you been to like the Star Wars Archives? Aren't those there? There's a massive warehouse. Yeah, and I have been in there, but it looks like it just looks like a massive warehouse with Ros. I've Got Dana Jones, yeah, just because I've ended Indiana Jones. Yeah, I'm not even sure if it's property any more. I don't know. To tell the truth, it's a beautiful if you guys have never been in ever get an opportunity to go there? It is a stunning property. It's yeah, it's beautiful. I think Trent and I would lose our minds we had the opportunity. Yeah, I was there for about eight years. It was home for me for quite a while. That's awesome. So I guess our last question that we like to ask all of our guests is the big Kahuna, as Trent and I like to refer to it. It's the final question. It's what's the last great movie that you watched? Not Good, great? Yeah, I may have to think about that and and send...

...you a note because, okay, do you have like a TV show you've been watching? Yeah, well, I mean, look, I won't say great because that's a tough thing to fill, but I really enjoy sex education. I thought that was that's a very clever, very smart you know, selfishly work in progress, because I've worked on the first season. I was sad that I couldn't work on the second season because I was busy on Matrix. But shows that are kind of different, I'll say that's those are good. You know. I yeah, you're not the first person I have this. Stolama, the great irony is that we interview people who are too busy with working on films to watch films. You know. Yeah, so they could great film. For me, music has been great all the way around and I've seen some that take some boxes, but I you know, so I'd have to think about plus, it was a strange year, two years. You know, I like to see films in the theater. I don't like to watch films on the small screen if I can help it, but I'll. I'm send us an email if you like now, because I'm sure there's there's something out. There's just like off the doubt. We have to record intro as an actress for this episode anyway. So okay, part you want to bring us out? Yeah, no, thank you so much to Jet Sally. This is a great time. He worked on Star Wars prequel trilogy speed racer, and also edited our film for today, the Matrix resurrections. Thank you so much for coming on. You're very welcome. Thank you. And resurrections is now on Hbo Max and in Theaters. It's I ran. So that sounded our right, I think so. Yeah, but go watch it in theaters. Yeah, go watch it in theaters. Yes, Trent parth, that was an interview. It sure was. I like to do you think for viewers stayed until this point in the show? One would hope so. I thought that was awesome. I have some information for the fans at home. While Joseph Jett Sally was not able to think of the last great movie he watched, he did end up emailing me saying that the latest thing that he watched they really liked, was promising young woman. Oh, Nice, at a movie that we've covered another on the show. Yeah, did you respond in any profound way? I just said Nice. I mean, I guess there's more in the email, but that was the general she owed us. He owed US after not remembering. Yeah, on a you really did, but as nice that he followed up. He did. It was very nice of him. But yeah, thanks for listening. Next week, what are we doing, Trent? Like? I think, like is what next? This week is yet to be recorded. Well, next...

...week is still about Matrix as directions. Oh, next week is the matrix was directions discussion, but the week after that is something we haven't recorded yet. We haven't recorded, so I'm not going to mention it on air because any time I get over confident. You don't want to Jink set. I always thinks it so, but let's just say this movie is going to be everywhere. Yeah, and it's a little bit of everything. And, like, from what I've been hearing, a lot of people wish they could just see this movie all at once. I haven't seen it yet, but I mean that it to we're seeing it tomorrow, right, Trent? Oh, oh, we'll say about it. No, no, wait, guys will try to accountable. We're seeing it tomorrow. Well, I guess by the time this goes up they will have been tomorrow. The decisions will have been made. The history books will reflect whether or I went to the movies with parth and Sophia. Well, part I think the listener should like and rate us. Wait, like, isn't a thing? Subscribe and rate us on Apple PODCASTS and spotify. Yeah, and then that follow us on Instagram, craft services podcast. Oh, we've expanded, by the way. We're no longer just an apple podcast and spotify. I've gotten us one apple music and Google podcasts. Cool, didn't know that was the thing. But if you use those weird as streaming so vers is. We're glad to include you. My aunt from India doesn't have an iphone and for some reason doesn't have a spotify account, and so they were asking me around. They were asking me, Hey, can this be on Amazon music, because I would listen to it. It was on Amazon and I was like sure, now it's on Amazon. Well, I love Amazon. Just kidding. No, Jeff Bezos is kind of my guy. You know, support small business. I do support small businesses. All right, this is the episode. Join US next all for a discussion where Trent and all we have a guest. Will we have a guest? I don't think so. I think this needs to be Trent versus part, because I just know this will be absolutely trent versus part. You know what I mean? Yeah, truit not, I agree. Trent versus part, or part of the versus Trent. Yeah, we went first, but I guess it's alphabetical. Who Will Win? The white man versus the person of color? I think we know how this goes. Oh, okay, well, with that being said, goodbye, bye, guys.

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